books 

NK 

4605 
. M16 
1880 


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Getty  Research  Institute 


https://archive.org/details/chinapaintingpraOOmcla 


CHINA  PAINTING, 


A PRACTICAL  MANUAL 


FOR  THE  USE  OF 


AMATEURS  IN  THE  DECORATION  OF 
HARD  PORCELAIN. 


M.  LOUISE  McLaughlin. 


’*  He  may  do  what  he  will  that  will  but  do  what  he  may.’’ — Arthur  Warwick^ 


CINCINNATI 

ROBERT  CLARKE  & CO 

1880 


CLOfs)  S 

nK 

h ^ J 

/ ff(5 


COPYHIGHT  : 

M.  LOUISE  McLAUQHLIMj, 
1877. 


, * 

h 

I 


THE  GEHY  CENTER 
LIBRARY 


PREFACE. 


Having  been  repeatedly  urged  to  give  the 
results  of  my  experience  in  china  painting  to  my 
fellow  art-students,  I take  this  method  of  doing 
so.  A great  desire  exists  at  present  among  those 
interested  in  art  studies,  to  acquire  a knowl- 
edge of  painting  in  enamel  colors,  and  I hope 
that  this  record  of  personal  experience  may  add 
something  to  the  general  information  on  the 
subject.  It  may  perhaps  be  the  means  of  saving 
beginners  from  the  difficulties  which  beset  my 
own  course  when  entering  upon  the  practice  of 
the  art. 

Cincinnati,  September^  i877* 

(iiO 


“ Success  defends  on  knowing  how  to  he  ffa- 
iient^  how  to  endure  drudgery^  how  to  unmake 
and  remake^  how  to  recommence  and  continue 
without  allowing  the  tide  of  anger  or  the  flight 
of  the  imagination  to  arrest  or  divert  the  daily 
effort H.  Taine. 
(iv) 


The  art  of  painting  on  china  is  certainly  a 
beautiful  one,  and  is,  perhaps,  peculiarly  fitted  to 
be  an  agreeable  pastime  for  persons  of  leisure. 
There  is,  however,  too  general  a tendency  to 
consider  it  simply  in  the  light  of  an  amusement, 
unworthy  of  serious  study,  and  an  art  for  the 
practice  of  which  no  special  training  or  knowl- 
edge is  necessary. 

Now,  what  is  worth  doing  at  all  is  worth  doing 
well,  and  the  idea  that  one  can  successfully  prac- 
tice any  branch  of  art  without  having  previously 
learned  to  draw  is  false.  The  eye  and  hand 
must  be  trained,  and  the  taste  cultivated,  before 
any  result  worthy  of  the  name  can  be  achieved. 

The  best  foundation  for  any  art-work  is  a 

(v) 


V 


INTRODUCTION. 


thorough  knowledge  of  drawing;  and  the  time 
spent  in  acquiring  such  knowledge  will  never  be 
regretted.  It  is  true  that  there  are  methods  of 
decorating  china  with  simple  designs,  which  may 
be  accomplished  by  those  unskilled  in  the  use  of 
the  pencil  or  brush ; yet,  as  the  hand  of  the  master 
is  revealed  in  the  most  careless  sketch,  so  the 
want  of  skill  or  freedom  of  touch  is  apparent  in 
the  treatment  of  the  simplest  subject. 

To  those  who  have  the  time  and  patience,  as 
well  as  the  natural  ability  to  learn  to  draw,  we 
would  say:  Make  it  your  first  business  to  ac- 
quire that  knowledge.  Cultivate  your  taste  by 
study  of  the  best  models  ; -educate  the  eye  to 
perceive  beautiful  forms  in  nature  or  art,  and 
the  hand  to  transcribe  them. 

Painting  on  china,  may  not  offer  the  same  fa 
cilities  for  the  truthful  rendering  of  nature  as 
oil  or  water-color  painting,  but  it  has  other  com 
pensating  advantages  in  the  beauty  of  the  enamel, 
and  the  enduring  qualities  of  the  pigments,  when 
fixed  by  the  fire. 

With  the  present  greatly  increased  facilities 


INTRODUCTION. 


Vll 


afforded  by  the  improvements  in  the  manufac 
ture  of  colors,  china  painting  should  regain 
something  of  its  former  prestige  among  the  arts. 
In  other  times  the  greatest  artists  exercised  their 
art  upon  this  material,  which,  seemingly  so  frail, 
has  preserved  their  work  unharmed  for  ages. 

A revival  of  the  art,  however,  can  not  be  ex- 
pected from  a servile  copying  of  the  old  designs 
and  methods.  As  well  might  the  artists  of  the 
modern  school  have  expected  to  arrive  at  their 
present  knowledge  of  technique  by  copying  the 
pictures  of  Durer  or  Van  Eyck. 

There  will  be  no  true  revival  of  any  branch 
of  art  unless  founded  upon  study  of  nature  and 
the  adaptation  of  her  principles  to  design,  and 
there  will  likewise  be  no  advance  possible  to  the 
individual  art  student  without  this  study  and 
practice. 

This  study  brings  with  it  its  own  reward  in 
the  cultivation  of  what  has  been  called  the  artistic 
sense,  which,  in  the  words  of  Thackeray,  reveals 
“splendors  of  nature,  to  vulgar  sights  invisible, 
and  beauties  manifest  in  forms,  colors,  shad- 


Vlll 


INTRODUCTION. 


ows  of  common  objects,  where  most  of  the  world 
saw  only  what  was  dull,  and  gross,  and  familiar. 
One  reads  in  the  magic  story-books  of  a charm 
or  a flower  which  the  wizard  gives,  and  which 
enables  the  bearer  to  see  the  fairies.  O enchant- 
ing boon  of  nature,  which  reveals  to  the  pos- 
sessor the  hidden  spirits  of  beauty  round  about 
him — spirits  which  the  strongest  and  most  gifted 
masters  compel  into  painting  or  song!  To 
others  it  is  granted  but  to  have  fleeting  glimpses 
of  that  fair  art-world,  and  tempted  by  ambition, 
or  barred  by  faint-heartedness,  or  driven  by 
necessity,  to  turn  away  thence  to  the  vulgar  life- 
track  and  the  light  of  common  day.” 


FIRING. 

Although  firing  is  the  final  process  of  china, 
painting,  it  may  be  well  to  make  some  remarks 
upon  it  here,  as  to  have  a successful  result  the 
work  must  always  be  done  with  reference  to  the 
ordeal  by  which  it  is  to  be  completed. 

It  is  generally  supposed  that  two  or  three  fir- 
ings are  indispensable  for  a piece  of  work  in 
which  various  colors  are  used. 

This  may  be  desirable  where  there  are  the  fa- 
cilities for  firing  that  exist  in  places  in  which  por- 
celain is  extensively  manufactured  and  decorated, 
but  here  it  is  impracticable.  After  the  first  fir- 
ing, the  heat  should  be  modified  for  succeeding 
ones.  Where  a great  deal  of  work  is  done,  and 

(9) 


lO 


CHINA  PAINTING. 


the  firings  are  consequently  frequent,  pieces  in 
each  stage  of  progress  can  be  fired  with  others 
which  require  the  same  degree  of  heat.  Here, 
where  there  is  less  work  to  be  done,  and  the  fir- 
ings are  not  so  frequent,  a piece  of  work  intended 
for  a second  firing  is  placed  in  the  same  oven  with 
others  going  through  the  process  for  the  first  time. 
Repeated  firings  under  such  circumstances  not 
only  involve  much  loss  of  time  and  considerable 
expense,  but  endanger  the  success  of  the  work. 

The  absence  of  facilities  for  obtaining  a second 
firing  is,  however,  in  my  opinion  no  appreciable 
disadvantage.  There  may  be  occasions  where  an 
effect  desired  can  only  be  produced  by  two  fir- 
ings ; but,  as  a general  thing,  one  is  all  that  is 
necessary.  In  my  own  practice,  I have  invari- 
ably prepared  the  work  to  receive  but  one  firing, 
finishing  the  painting  in  the  same  way  as  in  water 
colors  ; usually  in  one  sitting  of  two  or  three 
hours. 

Small  furnaces  called  muffles  can  be  procured 
by  which  china  may  be  fired  by  the  artist.  These 
are  best  suited  for  small  pieces;  larger  ones,  it  is 


FIRING. 


I I 

said,  are  liable  to  break  in  such  an  oven.  Muf- 
fles would  probably  be  useful  where  repeated 
firings  were  desired,  or  where  the  services  of  a 
good  operator  could  not  be  secured  to  perform 
that  part  of  the  work.  Where  this  is  possible, 
however,  it  is  safer  and  probably  more  econom- 
ical of  time  and  money  to  have  it  done  by  the 
professional  decorator. 

A process  has  recently  been  invented  by  a 
Frenchman,  M.  Gabelle,  by  which,  it  is  said, 
pieces  of  china  of  ordinary  size  and  shape  may 
be  easily  fired  at  home  without  a muffle.  Hav- 
ing never  tried  it,  I can  not  vouch  for  the  suc- 
cess of  the  experiment  from  personal  experience. 
It  has  been  tried,  however,  in  the  presence  of 
many  artists  and  teachers  in  Paris,  who  have  been 
convinced  of  its  efficiency  in  spite  of  their  pre- 
vious incredulity. 

The  apparatus  necessary  — a sheet-iron  or 
earthenware  stove  in  which  wood  is  burned,  such 
as  is  used  in  France — is  not  so  common  here  as 
to  make  the  experiment  within  the  reach  of 
many.  I will,  however,  give  an  account  of  it. 


12 


CHINA  PAINTING. 


translated  from  M.  Gabelle’s  pamphlet,  as  a 
suggestion  to  any  who  have  the  facilities  and  may 
wish  to  verify  the  experiment. 

After  having  repeatedly  heaped  up  pieces  of 
dry  wood  in  the  grate,  you  obtain  a thick 
layer  of  embers.  When  the  wood  is  perfectly 
consumed  and  you  see  the  blue  flames  appear, 
take  the  piece  of  china  from  the  oven  where 
it  has  been  previously  placed  for  some  moments, 
and,  raising  it  with  the  aid  of  the  tongs  and  a 
flat  shovel  which  have  also  been  warmed,  place 
it  on  top  of  the  bed  of  coals.  Close  the  doors 
quickly,  and,  a quarter  or  half  hour  afterward, 
close  the  damper  to  prevent  the  cinders,  which 
commence  to  cover  the  surface  of  the  coals,  from 
flying  and  attaching  themselves  to  the  painting. 

At  the  end  of  from  thirty  to  fifty  minutes,  ac- 
cording to  the  heat  of  the  fire,  remove  the  ob- 
ject from  the  coals  with  the  shovel  and  tongs,  not 
without  having  taken  the  precaution  to  heat  them 
again,  and  place  it  in  the  oven,  that  it  may  not 
cool  too  quickly.  In  firing  plates  or  pieces  which 


FIRING. 


13 


are  not  in  danger  of  rolling  in  the  cinders,  it  is 
better  to  wait  until  they  are  completely  cool. 

Astonishing  as  it  may  seem,  M.  Gabelle  says 
he  has  never  known  a piece  to  break  in  the  fire, 
and  that  the  enamel  obtained  by  this  process  is 
of  the  greatest  brilliancy. 

Care  should  be  taken,  however,  that  there  be 
no  pieces  among  the  coals  which  would  cause 
smoke.  The  bed  of  glowing  embers  should  also 
be  smoothed  carefully,  so  that  the  painted  sur- 
face may  not  be  injured  by  contact  with  them. 

A more  intense  fire  can  be  obtained  by  the 
addition  of  some  large  pieces  of  charcoal  when 
the  wood  is  on  the  point  of  being  consumed. 


14 


CHINA  PAINTING. 


CHAPTER  II. 

MATERIALS. 

The  china  used  for  decoration  should  be  of 
the  very  finest  quality,  free  from  spots  or  other 
imperfections  of  the  enamel. 

Pieces  fulfilling  these  conditions  are  difficult 
to  find.  However,  those  only  should  be  selected 
which  are  as  free  from  defects  as  it  is  possible  to 
obtain  them.  The  hard  porcelain  of  French 
manufacture  is  the  best  for  the  purpose  of  deco- 
rating. 

The  colors  for  painting  on  china  must  be  vit- 
rifiable,  having  in  addition  to  the  coloring  matter 
a vitreous  flux,  as  it  is  called,  which  fixes  the 
coloring  matter  under  the  action  of  the  fire,  and 
at  the  same  time  imparts  great  brilliancy  and  du- 
rability to  the  colors. 

Until  a comparatively  recent  date  they  were 
procured  in  powder  and  mixed  by  the  artist 


MATERIALS. 


11 

with  the  oils  necessary  to  their  use.  As  the 
success  of  the  work  largely  depends  upon  the 
proper  grinding  and  preparation  of  the  colors, 
this  method  involves  considerable  risk  in  the 
hands  of  beginners,  besides  being  tedious  and 
annoying  to  those  more  experienced.  Now  that 
a method  of  putting  up  the  colors  in  tubes  has 
been  adopted,  this  tiresome  and  uncertain  pro- 
cess is  no  longer  necessary.  Some  china  painters 
still  prefer  to  use  the  powdered  colors.  Having 
used  both,  I would  most  readily  declare  in  favor 
of  the  tube  colors,  when  properly  prepared,  and 
think  that  a like  decision  will  be  the  result  in  any 
case  where  they  are  fairly  tried.  In  the  following 
pages,  the  palettes  recommended  will  be  com- 
posed from  the  colors  manufactured  by  M. 
Lacroix,  of  Paris.  Having  had  considerable 
experience  in  their  use,  I consider  them  the  best 
made,  and  can  say  of  them,  that  they  leave  nothing 
to  be  desired. 

Colors  of  different  manufacture  should  not  be 
used  together  in  painting. 

Brushes  for  water-color  painting  may  also  De 


i6 


CHINA  PAINTING. 


used  on  china.  Those  of  medium  size,  with 
good  points,  are  the  best. 

Small  camels’-hair  brushes  with  square  ends 
may  be  had,  which  will  do  for  blending,  when 
necessary  in  fine  work. 

For  tinted  surfaces,  borders,  etc.,  large  blend- 
ers are  necessary.  The  brushes  used  by  gilders, 
and  called  in  the  trade  gilders*  dusters,  make 
good  blenders  for  this  purpose.  No.  9 is  a 
very  good  size. 

For  placing  the  color  on  these  surfaces,  a 
broad,  flat  camels’-hair  brush  rather  more  than 
an  inch  in  width  should  be  used.  For  narrow 
bands  and  lines,  brushes  of  suitable  size,  with 
very  long  hairs  and  square  ends,  are  used. 

To  recapitulate  and  sum  up  the  materials  nec- 
essary for  painting  on  china,  I would  enumerate 
the  following  items 

I.  A set  of  tube  colors,  more  or  less  in  num- 
ber, according  to  the  scope  of  the  work  to  be 
done. 


MATERIALS. 


I? 

As  the  colors  can  not  be  mixed  with  as  great 
freedom  as  those  for  water-color  painting,  or  even 
oil  colors,  it  is  better  to  have  a greater  variety 
than  might  be  necessary  in  either  of  those  branches 
of  art.  For  a list  which  would  include  the  col- 
ors desirable  to  have  for  every  style  of  painting, 
containing  nothing  unnecessary,  and  from  which 
those  requisite  for  any  particular  subject  could 
be  selected  according  to  the  palettes  given  here- 
after under  the  various  heads,  we  would  offer 
the  following : 

REDS  AND  RED  BROWNS. 

Carmine^  No.  ^yfonce — Dark  carmine. 

Rouge  chair ^ No.  i — Flesh  red.  No.  2. 

Rouge  capucine — Capucine  red. 

Brun  rouge  riche — Dark  red  brown. 

Violet  de  fer — Iron  violet. 

PURPLES. 

' Pourpre  riche — Deep  purple. 

Violet  d!or  fonc'e — Dark  golden  violet. 


i8 


CHINA  PAINTING. 


BLUES. 

Bleu  del  ou  axur — Sky  blue. 

Bleu  outremer  riche — Dark  ultramarine. 
Bleu  riche— blue. 

GREENS. 

Vert^  No.  5,  pr^ — Grass  green. 

Verty  No.  6,  brun — Brown  green. 

Vert  pomme — Apple  green. 

YELLOWS. 

Jaune  a mUer — Mixing  yellow. 

Jaune  dHvoire — Ivory  yellow. 

Jaune  jonquille — Jonquil  yellow. 

Jaune  orang'e — Orange  yellow. 

BROWNS. 

Brun  4 fonce  ou  17 — Dark  brown. 

Brun  jaune — Yellow  brown. 

BLACK. 

Noir  cHvoire — Ivory  black. 


MATERIALS. 


9 


WHITE. 

Blanc  fixe — Permanent  white. 

GREYS. 

Gris,  No,  6,  perle. — Pearl  grey. 

Gris  noir — Black  grey. 

2.  A porcelain  palette. 

3.  A glass  slab  about  eight  inches  square. 

4.  Several  small  and  medium-sized  camels* 
hair  brushes. 

5.  Several  blenders,  large  and  small. 

6.  A quart  bottle  of  spirits  of  turpentine. 

7.  A quart  bottle  of  98  per  cent,  alcohol. 

8.  A small  bottle  of  oil  of  turpentine,  one  of 
oil  of  lavender,  and  one  of  balsam  of  copaiva, 

9.  A steel  palette  knife ; also  one  of  horn  or 
ivory. 

10.  A rest  for  the  hand  while  painting,  made 
of  a strip  of  wood  about  an  inch  and  a half 
wide  and  twelve  inches  long,  supported  at  each 
end  by  a foot,  an  inch  and  a half  in  height.  A 


20 


CHINA  PAINTING. 


flat  ruler  or  thin  strip  of  wood  may  be  used  for 
plates,  or  any  flat  piece  having  a raised  edge,  and 
may  be  found  more  convenient  than  the  more 
cumbrous  rest. 

11.  A fine  needle,  set  in  a handle,  for  remov- 
ing particles  of  dust  which  may  settle  in  the 
painting. 

12.  A small  glass  muller. 

A full  outfit,  such  as  is  mentioned  above,  can 
be  procured  at  a cost  of  from  ten  to  twelve  dol- 
lars. 


PREPARING  THE  DESIGN. 


21 


CHAPTER  III. 

PREPARING  THE  DESIGN. 

In  commencing  to  paint  a design  on  china, 
the  first  thing  to  be  done,  of  course,  is  to  sketch 
the  outline.  The  best  way  to  do  this  is  to  pre- 
pare the  china  by  rubbing  the  surface  with  spirits 
of  turpentine,  and,  after  having  left  it  a few  mo- 
ments to  dry,  draw  the  design  upon  it  very 
lightly  with  a hard  lead  pencil. 

Alcohol  may  also  be  used  for  the  same  pur- 
pose, and  has  the  advantage,  that  it  is  not  so  li- 
able to  catch  the  dust.  The  surface,  however, 
does  not  receive  the  marks  of  the  lead  pencil  so 
well  as  when  it  is  prepared  with  turpentine. 
Lithographic  crayon  may  also  be  used,  and  with- 
out any  preparation,  but  the  outline  is  not  so 
delicate  as  that  drawn  with  the  lead  pencil. 

If  the  subject  is  a difficult  one,  as  for  instance, 
a design  containing  several  figures,  time  may  be 


22 


CHINA  PAINTING. 


saved  and  liability  to  error  avoided  by  tracing 
the  design,  which  insures  the  correct  relative  posi- 
tion of  the  figures,  and  tends  to  produce  the  ob- 
ject desired,  a correct  copy  of  the  original.  It 
is  better,  however,  to  sketch  simpler  subjects 
directly  upon  the  china. 

It  is  commonly  supposed  that  a tracing  is  of 
great  assistance  to  any  one  unskilled  in  drawing, 
but  if  one  is  unable  to  draw  a correct  outline, 
it  is  hardly  possible  that  the  painting  will  be 
better.  It  is  so  very  easy  to  lose  the  outline  in 
working,  that,  after  all,  a tracing  is  but  a slight 
indication,  which  has,  for  its  principal  use, 
the  placing  of  the  design  in  exactly  the  right 
position  on  the  plate  or  other  object  to  be  decor- 
ated. 

There  are  various  ways  of  tracing;  the  sim- 
plest and  best  of  which  is  the  following:  Lay  a 
piece  of  transparent  paper  over  the  design  to  be 
copied,  and  trace  the  outlines  very  carefully  with 
a hard  lead  pencil,  then  turn  the  tracing  paper 
over  on  any  white  surface,  and  go  over  all  the 
lines  on  the  reverse  side  with  a soft  pencil.  You 


PREPARING  THE  DESIGN. 


can  now  lay  the  tracing,  right  side  up,  on  the 
china,  which  has  been  previously  prepared  for 
the  lead  pencil  with  turpentine,  and  having 
placed  it  in  exactly  the  right  position,  secure  it 
by  means  of  bits  of  modelling  wax  or  gummed 
paper  at  the  corners,  and  pass  over  the  lines  with 
a hard  point,  or  rub  the  entire  surface  with  a 
rounded  instrument.  The  handle  of  the  palette 
knife  may  be  used  for  this  purpose.  This  will 
transfer  the  pencil  drawing  to  the  surface  of  the 
china. 

The  more  delicate  the  outline  the  better,  pro- 
vided it  is  plainly  visible,  as  a heavy,  dark  or 
colored  outline  sullies  the  colors  used  upon  it, 
and  causes  much  annoyance  in  working.  Al- 
though it  may  disappear  in  the  firing,  it  is  better 
to  avoid  it.  Faulty  lines  in  the  tracing  may  be 
rectified  by  the  use  of  a sharpened  stick  of  soft 
wood  moistened  with  turpentine. 


CHINA  PAINTING. 


124 


CHAPTER  IV. 

GENERAL  DIRECTIONS  FOR  PAINTING. 

These  directions  are  confined  to  the  use  of 
enamel  colors  on  hard  porcelain.  This  material 
is  suitable  for  every  style,  and  as  the  painting  is 
done  on  the  glaze,  is  capable  of  receiving  the 
highest  degree  of  finish. 

A plate  or  flat  plaque  is  the  best  subject  for  a 
beginner,  as  it  is  more  easily  managed  than  cups 
or  other  articles  with  rounded  surfaces. 

As  stated  before,  the  colors  in  tubes  are  es- 
pecially to  be  recommended  to  the  novice. 

If  the  powdered  colors  are  used,  however,  the 
powder  should  be  well  rubbed  down  with  a little 
oil  of  turpentine  and  thinned  with  the  spirits  of 
■turpentine,  a saucer  of  which  should  be  kept  on 
the  table  while  working,  and  used  in  the  same 
way  that  water  is  used  in  water-color  painting — 
for  diluting  the  paint  and  washing  the  brushes. 


GENERAL  DIRECTIONS  FOR  PAINTING. 


If  the  tube  colors  are  used,  it  will  simply  be 
necessary  to  dilute  them  with  turpentine.  If 
they  are  difficult  to  lay,  a drop  or  so  of  oil  of 
turpentine  may  be  added  to  the  spirits  of  tur- 
pentine. Care  should  be  taken,  however,  to 
avoid  an  excess  of  oil,  as  it  renders  the  colors 
liable  to  blister  in  the  fire. 

The  use  of  clove  oil  as  a medium  is  advised 
by  some.  The  color  can  perhaps  be  more  easily 
laid  with  it  than  with  spirits  of  turpentine.  It 
does  not  dry  so  quickly,  however,  and  unless 
recourse  is  had  to  the  process  of  drying  the  work 
with  the  aid  of  an  alcohol  lamp,  its  use  involves 
tedious  waiting.  Others  recommend  oil  of  lav- 
ender. For  my  own  part,  I think  the  use  of 
spirits  of  turpentine  decidedly  preferable,  as  in 
that  case  no  time  need  be  lost  in  waiting  for  the 
work  to  dry,  and  it  is  possible  to  finish  a paint- 
ing in  one  sitting. 

The  drying  of  the  colors  is  affected  by 
the  state  of  the  atmosphere.  Statements,  there- 
fore, that  are  founded  on  the  usage  of  foreign 
painters,  with  reference  to  this  point,  are  prac 


26 


CHINA  PAINTING. 


tically  of  little  value  here,  as  the  difference  in 
climate  changes  the  conditions  under  which  the 
work  is  executed. 

If  during  the  progress  of  the  painting  it  is 
found  to  be  difficult  to  work  over  the  colors  first 
laid,  which  are  indeed  very  liable  to  come  up, 
the  piece  of  china  may  be  placed  in  a moderately 
warm  oven,  to  dry,  before  proceeding.  On 
being  taken  out  of  the  oven,  the  col9rs  will  be 
found  to  l|ave  lost  their  gloss,  if  perfectly  dry, 
and  perhaps  will  have  changed  their  hue.  No 
alarm  need  be  felt  at  this,  as  they  will  return  to 
their  former  brilliancy  when  fired. 

Some  china  painters  disapprove  altogether  of 
any  rapid  method  of  drying,  and  only  advise 
that  the  work  be  laid  aside  until  dry,  others 
dry  it  by  means  of  an  alcohol  lamp.  If  you  use 
spirits  of  turpentine  as  a medium,  however, 
the  part  first  done  will,  as  a general  thing,  be- 
come dry  enough  to  work  over  while  you  are 
engaged  on  other  portions  of  the  design. 

A second  vessel  containing  turpentine  should 
be  kept  on  the  working  table,  for  the  purpose  of 


GENERAL  DIRECTIONS  FOR  PAINTING-  'IJ 


washing  the  brushes,  especially  when  the  same 
one  is  used  for  various  colors. 

After  using  a color  containing  iron,  the  brush 
should  be  carefully  washed  before  it  is  charged 
with  one  which  does  not  contain  iron,  or  if  white 
is  to  be  used. 

The  brushes  ought  not  to  be  too  small,  and  the 
colors  should,  as  far  as  possible,  be  laid  in  broad 
washes,  and  decided  touches  placed  lightly  and 
quickly  and  not  overworked.  The  use  of  the 
blender  may  be  resorted  to  if  necessary,  especi- 
ally in  laying  the  first  washes,  although  it  is 
better  to  avoid  it  afterward  if  possible. 

The  same  rules  may  be  applied  to  china  paint- 
ing as  to  water-colors,  to  which  it  bears  a close  re- 
semblance. The  greatest  art  consists  in  placing 
each  touch  where  it  should  go  and  leaving  it,  not 
spoiling  it  by  uncertainty  or  degrading  the  tint 
by  overwork.  In  fine  work,  lining  and  stippling 
are  necessary  in  finishing,  but  should  not  be  car- 
ried to  excess  or  made  too  apparent.  These  latter 
processes  are,  perhaps,  more  indispensable  in 
preparing  work  for  a single  firing,  as  it  is  very 


28 


CHINA  PAINTING. 


difficult  to  lay  repeated  washes  over  one  another, 
the  under  tint  comes  up  so  readily,  especially 
when  it  is  not  thoroughly  dry. 

The  same  place  must  never  be  passed  over  by 
the  brush  twice  in  immediate  succession,  as  the 
under  tint  will  certainly  come  up,  and  the  blot 
caused  in  the  painting  will  be  difficult  to  rectify. 
It  is  of  no  use  to  attempt  it  while  it  is  wet; 
work  on  some  other  part  and  then  go  over  it, 
or  first  dry  it  in  the  oven. 

Some  of  the  tube  colors  may  require  to  be 
rubbed  down  after  being  taken  from  the  tubes. 
This  will  be  especially  necessary  in  the  case  of 
the  carmines  and  whites.  A horn  or  ivory  pa- 
lette knife  should  be  used  with  these  colors,  as 
well  as  with  the  blues,  and  all  colors  containing 
no  iron.  Mixtures  of  colors  on  the  palette  may 
be  rubbed  down  occasionally  or  mixed  with  the 
brush  before  using,  to  prevent  them  from  sepa- 
rating themselves  into  their  component  parts. 

Too  much  turpentine  should  not  be  taken 
into  the  brush  when  it  is  to  be  charged  with 
color.  Dip  it  into  the  turpentine,  and,  remove 


GENERAL  DIRECTIONS  FOR  PAINTING.  29 


the  surplus  moisture  by  drawing  the  brush  over 
the  edge  of  the  vessel  containing  it,  before  taking 
up  the  color  from  the  palette.  The  tint  may  be 
tried  first  on  the  edge  of  the  plate.  Surplus  color 
or  moisture  may  be  removed  by  touching  the 
brush  upon  a muslin  rag,  which  should  al- 
ways be  at  hand  for  the  purpose  of  wiping  the 
brushes. 

After  using,  the  brushes  should  be  washed  in 
alcohol.  The  bottle  containing  it  must  be  kept 
tightly  corked,  as  it  evaporates  very  quickly  when 
exposed  to  the  air.  Care  must  be  taken  that  no 
drops  of  the  alcohol  fall  upon  the  painting,  as 
it  will  immediately  remove  the  colors  from  the 
surface.  When  the  large  brushes  are  cleaned, 
after  being  washed  in  the  alcohol,  the  hairs 
should  be  spread  apart,  and  the  fingers  passed 
lightly  over  them  until  they  are  dry;  otherwise, 
the  hairs  may  stick  together  in  drying,  and  the 
brush  be  rendered  unfit  for  use.  Washing  in 
alcohol  will  prevent  the  turpentine  used  in  paint- 
ing from  injuring  the  brushes,  as  it  would  if  al- 
lowed to  remain  in  them. 


,30 


CHINA  PAINTING. 


As  a general  rule,  the  shadows  should  be 
painted  a little  darker  than  they  are  to  appear 
when  finished,  as  they  are  liable  to  become  lighter 
in  the  firing. 

Dust  floating  in  the  atmosphere  is  very  annoy- 
ing, as  it  attaches  itself  so  readily  to  the  painting 
while  in  progress.  The  moist  color  settles 
around  these  particles  and  forms  spots  on  the 
work  which  may  not  disappear  in  the  firing. 
This  should  be  avoided  Js  far  as  possible.  If  it 
should  happen,  however,  that  any  particles  fall 
upon  the  painting,  they  may  be  removed  with 
the  point  of  a needle.  This  instrument  will  also 
be  found  useful  for  removing  surplus  color, 
when  desired. 

The  tube  colors  should  be  preserved  from  heat 
as  far  as  possible.  If  they  become  dry  in  the 
course  of  time,  which  should  not  be  before  they 
have  been  kept  a year,  at  least,  the  other  end  of 
the  tube  may  be  opened,  and  the  color  taken  out 
with  the  palette  knife,  and  rubbed  down  with  tur- 
pentine. It  would  be  well  to  change  the  position 


GENERAL  DIRECTIONS  FOR  PAINTING.  3 1 


of  the  tubes  lying  in  the  box,  occasionally,  to 
prevent  the  color  separating  from  the  oils 
with  which  it  is  mixed.  The  tops  should  also  be 
screwed  on  very  tight,  as  the  paint  is  liable  to 
run  out. 


I 

.1 


32 


CHINA  PAINTING. 


CHAPTER  V. 

COMPOSITION  OF  PALETTES  FOR  VARIOUS  STYLES 
OF  PAINTING. 

In  the  following  pages  will  be  found  lists  of 
colors  and  mixtures  to  be  used  for  the  various 
subjects  which  may  be  painted  on  china. 

I do  not  wish  to  be  understood  as  saying  that 
these  are  the  only  combinations  that  can  be  used, 
or  that  they  are  the  best,  but  simply  that  in  my 
own  experience  they  have  produced  the  desired 
results. 

Each  artist  has  his  own  method  of  making  up 
his  palette.  The  liberty  of  choice  enjoyed  in 
mixing  oil  or  water  colors  is,  however,  some- 
what abridged  in  china  painting  by  the  chemical 
changes  produced  by  the  action  of  the  fire,  which 
forbids  mixtures  which  would  be  quite  innocent 
in  either  of  the  former  mediums. 

The  following  palettes  are,  however,  suggested 


COMPOSITION  OF  PALETTES. 


33 


for  the  benefit  of  those  unfamiliar  with  the  use 
o^  enamel  colors  as  combinations  which  m.ay  be 
relied  upon  to  produce  the  results  attributed  to 
them. 

I have  endeavored  to  limit  the  number  of 
colors  as  far  as  possible,  believing  that  where  one 
color  will  produce  the  desired  effect,  the  mention 
of  half  a dozen  only  confuses  the  student.  The 
difficulty  of  indiscriminate  mixing,  referred  to 
before,  renders  a greater  number  of  colors  nec- 
essary in  china  painting  than  in  oil  or  water 
colors.  Yet,  as  in  those  branches  of  art,  it  is 
better  to  have  a limited  palette,  and  learn  its  full 
capacity,  than  to  become  involved  in  the  in- 
tricacies of  one  embracing  more  colors,  but 
producing  combinations  less  likely  to  har- 
monize. It  is  certainly  less  confusing,  and  leads 
to  more  thorough  knowledge,  for  a beginner  to 
use  few  colors,  and  comprehend  perfectly  how 
effects  are  produced. 

It  will  be  proper  to  introduce  here  a classifica- 
tion of  the  colors  used  in  china  painting,  which 


34 


CHINA  PAINTING. 


will  lead  to  an  understanding  of  the  way’ in  which 
they  may  be  mixed. 

M.  Lacroix,  from  whose  work  the  following 
is  adapted,  has  classified  the  colors  with  regard  td 
iron,  which  plays  an  important  part  in  the  com- 
position of  many  of  them. 

First  Group.  Colors  without  iron — the  whi^tes, 
blues,  and  the  gold  colors. 

Second  Group.  Colors  containing  but  little 
iron — yellows  and  greens. 

Third  Group.  Colors  whose  base  is  iron — the 
reds,  flesh  reds,  red  browns,  iron  violets,  the 
browns,  brown  yellows,  ochres,  blacks,  and  most 
of  the  greys. 

In  the  first  class,  the  colors  whose  base  is  gold 
are  the  carmines,  carmine  lake,  the  purples,  and 
the  golden  violets. 

The  foundation  of  these  colors  is  purple  of 
cassius,  which  is  made  of  gold  and  tin.  It  gives 
tints  which  vary  from  lilac  to  dark  violet.  Mod- 
ified by  silver  and  different  fluxes,  it  produces 
carmines  and  purples. 

If  the  carmines  are  fired  at  too  Iowa  tempera- 


COMPOSITION  OF  PALETTES. 


35 


ture,  the  silver  predominates  and  the  color  takes 
a dirty  yellow  tint.  If,  on  the  contrary,  the 
temperature  is  too  high,  the  shade  of  silver  is 
completely  destroyed,  and  the  carmine  changes 
to  lilac.  This  effect  does  not  exist  in  the  purples 
to  the  same  degree.  Carmine  will  also  take  a 
yellowish  tint  in  the  firing  if  applied  very  thickly. 

The  blues,  with  rare  exceptions,  owe  their 
color  to  cobalt.  As  the  mixture  of  cobalt  and 
iron  gives  tints  varying  from  light  grey  to  black, 
according  to  the  proportions,  it  is  well  to  take 
great  precaution  when  using  the  blues  with  the 
reds,  flesh  colors,  browns,  and  ochres. 

The  brushes  which  have  been  used  with  these 
colors  should  also  be  carefully  washed  before 
using  for  a blue  of  which  a pure  tint  is  desired. 

Care  should  be  observed  in  the  use  of  the  yel- 
lows, some  of  which  cause  the  colors  mixed  with 
them  to  disappear  entirely  in  the  fire.  This  effect 
is  seen  where  too  much  ivory  yellow  is  mixed 
with  red. 

Mixing  yellow  and  jonquil  yellow  do  not  con- 
tain iron,  and  are  preferable,  therefore,  for  mix- 


36 


CHINA  PAINTING. 


ing  with  the  blues  to  obtain  fresh  greens.  Other 
yellows  containing  iron  should,  on  the  contrary, 
be  used  with  the  iron  colors. 

The  color  called  silver  yellow  does  not  contain 
silver;  it  is  composed  of  jonquil  and  orange 
yellows.  It  mixes  readily  with  the  gold  colors, 
also  with  iron  violet,  and  sometimes  with  reds. 

Coral  color  can  not  be  used  in  painting,  on 
account  of  its  extreme  sensibility  to  the  fire, 
which'  at  a high  temperature  will  sometimes  change 
it  to  yellow. 

Most  of  the  browns  owe  their  tints  to  the 
mixture  of  cobalt  and  iron.  They  frequently 
contain  zinc  also.  The  yellow  browns  and  ochres 
are  generally  produced  by  a mixture  of  iron  and 
zinc. 

The  best  blacks  are  usually  made  of  cobalt  and 
iron,  like  the  browns,  only  in  the  former  the 
cobalt  predominates. 

All  the  greys,  with  the  exception  of  platina 
grey,  are  made  by  mixing  colors  of  the  different 
groups — blacks,  blues,  and  reds,  according  to  the 
tints  required. 


COMPOSITION  OF  PALETTES. 


37 


Greys  may  also  be  obtained  in  painting  by 
mixing  complementary  colors — the  reds  and 
greens,  yellows  and  violets  (those  composed  of 
carmine  and  blue).  Grey  may  also  be  made  by 
mixing  one-third  ivory  black  with  two-thirds  sky 
blue.  Wherever  black  is  used  very  thinly  to  form 
a grey  tint,  it  should  be  mixed  with  a little  blue. 
Black  used  alone,  in  thin  washes,  is  sometimes 
found  to  rub  off  after  the  firing. 

Some  colors  require  more  heat  for  their  fusion 
than  others.  These  are  called  hard  colors. 

As  the  flux,  joined  to  the  coloring  oxide  in  the 
manufacture  of  the  colors,  lightens  the  tint,  it 
follows  that  those  containing  less  flux — viz,  the 
dark  colors — are  harder  than  the  light  colors. 

The  lighter  and  more  fusible  colors,  though 
burning  in  the  same  time,  are  the  bleu  del  clair 
(light  sky  blue)  ; carmin  tendre^  A (soft  carmine, 
A,,) ; the  gris  perle  (pearl  grey) ; gris  roux  (reddish 
grey),  and  the  jaune  d'ivoire  (ivory  yellow). 
These  colors  should  not  be  applied  too  thickly, 
as  they  will  be  liable  to  scale  in  firing. 

If  by  any  means  the  painting  should  not  have 


38 


CHINA  PAINTING. 


received  sufficient  glaze  in  the  firing,  the  glaze 
may  be  restored  by  applying  a light  wash  of  one 
of  the  more  fusible  colors,  and  firing  the  piece 
again.  For  mixtures  of  brown  or  reddish  tones 
a very  light  wash  of  fusible  grey  may  be  used. 

The  blanc  fixe  (permanent  white)  and  other 
opaque  compounds  are  seldom  employed  in 
painting  on  hard  porcelain,  their  use  being  lim- 
ited to  little  touches  or  spots,  for  heightening 
the  effect  in  jewels  or  embroidery,  or  for  the 
highest  light  in  white  flowers  or  drapery. 

It  would  be  better  before  beginning  to  paint 
with  the  china  colors,  to  arrange,  upon  a plate  of 
the  kind  of  china  you  wish  to  use,  samples  of 
the  different  colors  and  mixtures,  carefully 
marked.  This,  after  it  has  been  fired,  will  be  of 
great  assistance  for  reference  in  using  the  colors. 


PAINTING  IN  MONOCHROME. 

Painting  in  this  style,  en  camaieu,  as  it  is  called 
by  the  French,  has  a very  pleasing  effect  on 
china,  and,  as  it  is  somewhat  easier  than  that  in 


COMPOSITION  OF  PALETTES. 


39 


which  various  colors  are  used,  may  be  recom- 
mended to  the  beginner,  especially  if  unfamiliar 
with  the  use  of  oil  or  water  colors. 

Paintings  en  camaieu  may  be  made  in  almost 
any  color.  The  easiest  to  use  for  this  purpose 
are,  probably,  violet  de  fer  (iron  violet)  or  brun 
rouge  riche  (deep  red  brown).  Sepia  may  also 
be  easily  employed  with  good  effect. 

Monochromes  in  pink  and  blue  are  very 
pretty  ; but  the  colors  are  rather  more  difficult 
to  use. 

Carmine  may  be  used  for  pink  monochromes. 
The  tint,  however,  is  likely  to  be  affected  differ- 
ently by  the  fire,  where  it  is  laid  on  thinly  or  the 
contrary.  It  is  difficult,  in  using  this  color,  to 
have  two  pieces  intended  to  match  fired  with  the 
same  tint. 

Pourpre  riche  (deep  purple)  may  also  be  used, 
with  less  risk  of  having  the  tint  altered  by  the 
fire 


40 


CHINA  PAINTING. 


PALETTES  FOR  FLOWER  PAINTING. 

Colors  Required. 

Vert.^  No.  5,  pre — Grass  green. 

Vert^  No.  6,  brun — Brown  green. 

Vert,  No.  7,  noir — Black  green. 

V ert  pomme — Apple  green. 

Jaune  a mUer — Mixing  yellow. 

Jaune  jonquille — Jonquil  yellow. 

Jaune  orange — Orange  yellow. 

Bleu  ceil  azur — Sky  blue. 

Bleu  riche — Deep  blue. 

Carmine,  No.  1,,  fonce — Dark  carmine. 

Pottrpre  riche — Deep  purple. 

Violet  dl or — Golden  violet. 

Rouge  capucine — Capucine  red. 

Rouge  orange — Orange  red. 

Brmi  rouge  riche — Deep  red  brown. 

Rouge  chair.  No.  2 — Flesh  red,  No.  2. 

In  laying  on  the  first  washes,  for  a flower,  the 
strokes  of  the  brush  should  proceed  from  the 


COMPOSITION  OF  PALETTES. 


41 


circumference  to  the  center,  and  for  a leaf,  from 
the  central  vein  to  the  edge.  In  painting 
grasses  or  parallel-veined  leaves  the  stroke  should 
be  made  from  the  top  to  the  bottom  of  the  leaf. 
After  the  design  is  prepared,  lay  in  first  the  local 
tints  of  the  various  parts,  so  that  they  may  be 
dry  by  the  time  you  wish  to  paint  the  shadow 
Do  this  with  flat,  broad  washes,  blending  them 
with  a small  brush,  if  necessary.  By  the  time 
the  last  of  these  washes  has  been  placed  the  part 
first  done  will  be  ready  for  the  shading. 

The  centers  of  flowers  should  be  painted  di- 
rectly on  the  china.  Any  adjacent  colors  which 
may  infringe  upon  the  outline  must  be  scraped 
or  wiped  olf. 

On  white  grounds  the  painting  should  be  rather 
light,  to  avoid  a hard  effect,  and  on  dark  colored 
grounds,  correspondingly  dark,  to  avoid  weak- 
ness. 

FOLIAGE. 

For  the  local  tint  use  vert^  No.  pre  (grass 
green).  Blue  may  be  added  if  a bluish  green 
is  desired,  or,  if  a yellow  green,  it  may  be  made 


42 


CHINA  PAINTING. 


by  the  addition  of  jaune  a mUer  (mixing  yellow) 
or  jaune  jonquille  (jonquil  yellow),  if  a more 
brilliant  tint  is  desired. 

Vert  brun  (brown  green)  may  be  used  for  the 
shadows,  mixed  with  grass  green,  using  more 
of  the  former  as  the  shadow  deepens.  A small 
quantity  of  dark  blue  may  also  be  added  to 
darken  and  subdue  the  tint. 

Vert^  No.  7,  noir  (black  green;  may  be  used  in 
some  cases  for  very  dark  shadows,  but  should  be 
employed  with  great  care,  as  it  is  a color  of  great 
intensity. 

Carmine  and  purple  may  be  used  with  greens, 
when  greyish  shadows  are  required. 

Greens  may  also  be  shaded  with  brown.  Brun 
4 fonce  (dark  brown)  may  be  used  also  for  touches 
of  brown.  For  red  touches  on  leaves,  etc.,  violet 
de  fer  (iron  violet)  may  be  employed. 


FLOWERS. 

For  white  flowers  the  surface  of  the  china, 
forms  the  local  tint.  For  the  shadows  a grejr 


COMPOSITION  OF  PALETTES. 


43’ 


'made  of  black  with  the  addition  of  a very  small 
quantity  of  blue  may  be  used,  or  any  of  the  other 
greys  previously  mentioned.  Gris  noir  (black 
grey)  is  a bluish  grey  of  great  intensity,  which 
must  be  used  with  great  care,  especially  in  mix- 
tures with  reds  and  yellows. 

* The  highest  lights  may  be  touched  with  blanc 
fix'e  (permanent  white)  or  blanc  chinois  (Chi- 
nese white). 

Yellow  flowers  may  be  painted  with  jaune  a 
meler  (mixing  yellow)  or  jaune  jonquille  (jonquil 
yellow)  and  shaded  with  vert  brun  (brown  green). 
When  touched  with  brownish  red,  violet  de  fer 
(iron  violet)  may  be  used. 

For  blue  flowers  either  of  the  blues  may  be 
used  according  to  the  tint  desired.  They  may 
be  shaded  with  the  black  or  gris  noir  (black  grey). 
Some  colors,  such  as  that  of  the  common  pale 
blue  morning-glory,  may  require  the  addition 
of  a little  carmine. 

Pink  flowers  may  be  painted  with  carmine,  and 
shaded  with  a grey  made  of  carmine  and  vert 
pomme  (apple  green). 


44 


CHINA  PAINTING. 


Dark  crimson  may  be  made  with  pourpre  riche 
(deep  purple),  shaded  with  the  same. 

Dark  purple  flowers  can  be  painted  pourpre 
riche  (deep  purple),  and  bleu  riche  (deep  blue), 
adding  more  or  less  of  the  blue,  according  as  the 
color  desired  is  more  purple  or  crimson.  They 
should  be  shaded  with  the  same  color.  This 
mixture  forms  a tint  of  great  intensity.  Violet 
d' or  (golden  violet)  may  also  be  used  for  purple 
flowers,  with  the  addition  of  bleu  riche  (deep  blue), 
when  desired. 

For  red  flowers  there  are  rouge  capucine  (capu- 
cine  red),  rouge  orange  (orange  red),  brun  rouge 
riche  (deep  red  brown),  or  rouge  chair  (flesh  red). 
They  may  be  shaded  with  the  same  tint  used  for 
the  lights,  and  by  the  addition  of  black,  brown, 
or  violet  de  fer  (iron  violet),  according  to  the 
color  desired. 

Yellow  centers  of  flowers  may  be  painted  with 
mixing  yellow,  shaded  with  brown  green,  and 
touched  with  sepia  or  heightened  with  jonquil  or 
orange  yellow. 

When  floral  designs  are  painted  from  na- 


COMPOSITION  OF  PALETTEb. 


45 


ture,  it  would,  perhaps,  be  better  to  make 
the  studies  in  water-colors.  The  painting  can 
then  be  executed  on  the  china  with  more  free- 
dom. 

Designs  in  water-colors  are  better  suited  for 
reproduction  on  china  than  when  painted  in  oil 
colors,  as  the  former  method  bears  a much  closer 
resemblance  to  china-painting. 

The  flowers  should  be  arranged  in  a careless, 
graceful  manner.  A design  occupying  one  side 
of  a plate,  for  instance,  and  straying  over  into 
the  border,  will  be  more  pleasing  than  one  placed 
directly  in  the  center.  Grasses  may  accompany 
the  flowers  with  good  effect,  and  are  so  easy  to 
paint  that  they  may  be  recommended  to  the  be- 
ginner as  good  subjects  for  the  first  studies  from 
nature. 

BUTTERFLIES. 

Butterflies  form  a very  pretty  accompaniment 
to  flowers  on  china.  They  should  be  painted  in 
positions  as  natural  as  possible.  After  the  sketch. 


46 


CHINA  PAINTING. 


is  made  the  black  markings  and  veining  of  the 
wings  should  be  painted  with  noir  d'ivoire  (ivory 
black),  and  afterward  the  intermediate  spaces 
filled  up  with  the  proper  colors.  For  brown 
butterflies,  sepia  may  be  used.  Take  jaune  a 
meler  (mixing  yellow)  for  the  common  yellow 
butterfly,  and  shade sNithvert  brun  (brown  green). 

PALETTE  FOR  LANDSCAPES. 

Colors  Required, 

Vert,  No.  5,  pre — Grass  green. 

Vert,  No.  6,  brun — Brown  green. 

Vert  pomme — Apple  green. 

Vert  noir — Black  green. 

Bleu  del  ou  azur — Sky  blue. 

Bleu  riche — Deep  blue. 

Vert  bleu  riche — Deep  blue  green. 

Brun,  4 fonce — Dark  brown. 

Brun  sepia — Sepia. 

Jaune  d'ivoire — Ivory  yellow. 

Jaune  a meler — Mixing  yellow. 

Carmine,  No.  3,  fonce — Dark  carmine. 

Noir  d'ivoire — Ivory  black. 


COMPOSITION  OF  PALETTES. 


4’7 


Sketch  lightly  with  a hard  lead  pencil.  Wash 
in  the  sky  with  bleu  del  (sky  blue)  and  blend  it. 
Clouds  should  be  taken  out  before  it  dries. 
This  may  be  done  by  wiping  off  the  color  with 
a cloth.  To  prevent  it  from  drying  too  quickly, 
the  color  used  for  the  sky  might  be  mixed  with 
a little  more  oil. 

Shadows  of  the  clouds  may  be  painted  with  a 
grey  made  of  ivory  black  and  sky  blue.  If  a 
yellowish  tint  is  desired  for  the  lighter  parts, 
jaune  d'ivoire  (ivory  yellow)  may  be  used. 

The  distance  can  be  painted  with  vert  pomme 
(apple  green)  and  carmine,  allowing  the  apple 
green  to  predominate. 

For  a tint  more  purple,  vert  bleu  riche  (deep 
blue  green)  may  be  used  with  carmine. 

For  nearer  parts,  take  apple  green  subdued 
with  vert  noir  (black  green),  or  vert  brun  (brown 
green). 

These  tints  must  all  be  applied  very  delicately. 

The  trunks  of  trees  and  particularly  any 
branches  relieved  against  the  sky  may  now  be 
sketched  in  with  brun^  4 fonce  (dark  brown). 


48 


CHINA  PAINTING. 


• The  foliage  should  be  painted  with  short, 
broad  touches,  to  give  the  proper  effect.  For 
the  highest  lights,  when  the  color  is  yellow  green, 
use  vert^  No.  5,  pre  (grass  green)  and  jaune  a 
meler  (mixing  yellow).  For  the  middle  tints, 
grass  greeni  alone.  Shadows  maybe  made  with 
the  addition  of  vert  brun  (brown  green). 

A good  tint  for  the  dark  shadows  can  be  made 
from  grass  green  subdued  with  brown  green  and 
a little  deep  blue. 

Black  green  is  a good  color  for  very  intense 
tints,  but  must  be  used  sparingly. 

Water  may  be  painted  with  apple  green  and 
sky  blue  ; also,  with  vert  bleu  riche  (deep  blue 
green)  applied  delicately.  For  reflections  of 
trees,  use  black  green  heightened  with  grass 
green. 

For  earth,  ochre,  or  any  of  the  lighter  browns, 
such  as  yellow  brown,  or  sepia,  may  be  used, 
subdued  with  black. 


COMPOSITION  OF  PALETTES. 


49 


PALETTE  FOR  HEADS  OR  FIGURES. 

Colors  Required. 

Rouge  chair ^ No.  i — Flesh  red,  No.  2. 

Brun  rouge  riche — Deep  red  brown. 

Jaune  d'ivoire — Ivory  yellow. 

Bleu  del  ou  a%ur—^\iq  blue. 

Noir  d'ivoire — Ivory  black. 

Brun  4 fonce — Dark  brown. 

Brun  Sepia — Sepia. 

METHOD  OF  PAINTING  A HEAD. 

Sketch  the  design  very  lightly  with  a hard  lead 
pencil.  If  you  have  difficulty  in  preserving  a 
pencil  outline  while  working  on  it,  the  sketch 
may  be  made  in  water  colors,  or  with  an  enamel 
color  mixed  with  water.  This  has  the  advan- 
tage, that  it  will  allow  you  work  over  it  without 
coming  up.  Take  any  reddish  color  and  make  a 
very  delicate  outline  with  the  brush. 

For  the  background,  mix  about  one-third  noir 


50 


CHINA  PAINTING. 


d'ivoire  (ivory  black)  with  two-thirds  bleu  del 
(sky  blue).  With  this  mixture  commence  by 
washing  in  the  background  lightly,  making  it 
darker  near  the  head  and  lighter  toward  the  outer 
edges,  where,  when  blended,  it  should  lose  itself 
in  the  white  of  the  china.  This  tint  should  be 
laid  very  rapidly,  leaving  the  outer  edge  in  ir- 
regular, cloud-like  masses.  The  color  should  be 
rather  oily,  so  that  it  will  blend  better.  You  will 
hardly  be  able,  however,  to  put  in  more  than 
one-half  before  it  is  ready  to  blend,  if  the  head 
is  of  any  size.  It  can,  however,  be  readily  joined 
above  the  head  where  the  tint  is  light.  By  the 
time  you  have  washed  in  one-half  your  back- 
ground, it  will  then  be  ready  to  blend,  if  the  color 
has  not  been  used  too  wet,  and  you  can  proceed 
to  level  the  tint  with  a medium-sized  blender. 
Be  particularly  careful  to  soften  the  edges  into 
an  insensible  gradation  toward  the  white  surface. 
If  you  have  not  been  quick  enough,  and  your 
background  has  become  too  dry  for  this,  you 
will  have  to  wipe  it  out  and  begin  over  again, 
using  a little  more  oil  with  the  colors. 


COMPOSITION  OF  PALETTES.  5! 

The  other  side  of  the  background  is  finished 
in  the  same  way,  care  being  taken  that  the  junc- 
ture with  the  side  already  done  should  show  as 
little  as  possible. 

You  may  then  proceed  to  the  flesh  tint.  For 
this  take  one-third  rouge  chair  No.  2 (flesh  red 
No.  2),  and  mix  it  with  two-thirds  jaune tTivoire 
(ivory  yellow).  Be  careful  not  to  take  too  much 
of  the  yellow,  as,  if  an  excess  of  it  is  used,  it 
will  devour  the  red  when  fired.  The  tint  will, 
of  course,  be  made  dark  or  light,  according  to 
the  complexion  desired.  With  this  tint  wash  in 
the  local  color  of  the  face  and  neck,  carefully 
passing  around  your  tracing  if  it  is  in  pencil.  It 
will  probably  be  necessary  to  blend  this  tint, 
using  a small  brush. 

You  should  be  careful  not  to  cover  so  large  a 
surface  with  this  wash  that  it  will  dry  before  you 
have  time  to  blend  it.  The  whole  of  the  face 
should  be  done  at  once  if  possible,  as  otherwise 
it  will  be  difficult  to  hide  the  juncture. 

The  local  tint  of  the  hair  may  then  be  washed 
in,  and  that  of  any  drapery  which  may  be  col- 


52 


CHINA  PAINTING. 


ored.  Leaving  this  part  of  the  work  to  dry, 
you  may  now  return  to  the  background,  which 
will  now,  probably,  be  dry  enough  to  work  over, 
with  care. 

If  it  should  not  be  dry  enough,  the  piece  may 
be  put  into  the  oven  a few  moments  to  dry  the 
first  washes. 

Work  over  the  background  with  cross  hatch- 
ings of  the  tint  previously  used,  taking  a mod- 
erately large  brush,  and  making  the  lines  rather 
broad,  not  too  long,  and  very  slightly  curved. 

Form  in  this  way  a shading  in  the  background, 
beginning  very  lightly  inside  the  edge  of  the  first 
wash,  and  proceeding  with  an  insensible  gradation 
toward  the  center,  darkening  it  in  this  way  around 
the  head,  according  as  you  wish  a dark  or  light 
background.  Where  it  is  suitable,  a light  back- 
ground seems  to  have  the  most  pleasing  effect 
upon  the  white  ground,  and  is  also  less  difficult 
to  paint. 

In  working  over  the  tints  first  laid,  be  very 
careful  not  to  have  your  brush  too  wet,  as  that 
will  cause  the  under  color  to  come  up.  The 


COMPOSITION  OF  PALETTES. 


53 


damage  thus  done  is  very  difficult  to  repair.  This 
will  not  be  so  likely  to  happen  if  the  work  has 
been  dried  in  the  oven. 

After  the  background  proceed  to  the  face.,  For 
the  shadow  tint  mix  one-third  noir  divoire  (ivory 
black),  one-third  bleu  del  (sky  blue),  and  one-third 
rouge  chair ^ No.  2,  (flesh  red.  No.  2).  Be  care- 
ful not  to  have  too  much  blue,  as  that  will  give 
the  shadows  too  green  a tint  in  the  firing,  although 
it  will  not  show  previously.  More  of  the  flesh 
color  may  be  added  when  you  wish  to  lighten  the 
shadows,  or  when  a more  ruddy  tint  is  desired. 
The  features  may  be  outlined  delicately  with  this 
shadow  tint,  and  then  the  masses  of  shadow 
should  be  placed.  Put  them  as  nearly  as  pos- 
sible in  their  proper  places,  with  a very  light 
touch,  and  without  blending  if  possible. 

It  may  probably  be  necessary  to  blend  the 
edges,  and  the  darker  portions  should,  perhaps, 
be  lined  and  stippled  in  the  finishing.  Before 
the  shadows  are  completed,  the  cheeks  and  lips 
may  be  touched  with  brun  rouge  riche  (deep  red 
brown),  used  very  delicately.  This  color  is  rather 


54 


CHINA  PAINTING. 


intensified  than  otherwise  by  the  fire,  and  al- 
though it  is  an  excellent  tint  for  this  purpose,  it 
must  be  used  with  care. 

The  lips  may  be  shaded  with  a little  black 
mixed  with  the  red  brown,  or  with  violet  de  fer 
(iron  violet).  The  nostrils  may  also  be  delicately 
touched  with  this  color,  but  should  be  darkened 
with  the  shadow  color  of  the  flesh. 

The  eyebrows  and  eyes  should  now  be  painted, 
the  eyebrows  with  a light  tint,  corresponding  to 
the  local  color  of  the  hair,  and  the  shadow  color 
to  be  used  in  the  hair.  Blend  them  naturally 
into  the  flesh  color  with  delicate  lines  and  shad- 
ings. The  eyes  may  be  painted  with  bleu  del 
(sky  blue)  shaded  with  black,or  with  brown  shaded 
with  black,  if  dark.  The  spot  of  reflected  light 
on  the  eye  may  be  left  the  white  of  the  china,  or 
touched  with  permanent  white. 

White  may  be  employed  for  such  purposes  as 
this,  or  for  pearls,  to  imitate  embroidery  or  lace, 
and  for  the  highest  lights  in  white  drapery,  but 
must  be  used  with  care.  It  seems  rather  liable 
to  spread  in  the  firing,  and  sometimes  to  blister. 


COMPOSITION  OF  PALETTES. 


55 


But  to  continue — if  the  hair  is  dark,  take 
hrun^  No.  4,  fonce  (dark  brown)  and  shade 
it  with  black  mixed  with  the  brown ; or,  if 
light,  use  yellow  brown,  or  sepia,  subdued  with 
black.  If  very  light,  ivory  yellow  can  be  used 
for  the  first  wash,  and  left  for  the  highest  lights, 
shaded  with  sepia  and  black.  The  touches  of 
the  brush  in  making  the  hair  should  be  fine 
strokes,  outlining  and  giving  direction  to  the 
masses.  The  hair  should  never  be  blended. 

These  finishing  touches  of  the  hair,  as  well  as 
those  on  the  face,  should  be  done  with  a fine 
brush.  After  the  various  parts  have  been 
brought  to  about  the  same  degree  of  finish, 
they  should  be  gone  over  again,  and  be 
brought  together  up  to  the  highest  degree  of 
finish  possible  to  the  painter.  It  is  well  to  know 
when  to  stop,  however,  as  overworking  is  as  bad 
as  lack  of  finish.  There  is  a great  deal  in  know- 
ing when  to  let  well  enough  alone.  When  you 
do  not  see  anything  more  to  do,  stop. 

The  drapery,  if  white,  should  be  painted  so 
as  to  leave  the  white  of  the  china  for  the  local 


56 


CHINA  PAINTING. 


color,  and  shaded  with  black  with  the  addition 
of  a little  sky  blue. 

MONOGRAMS. 

Monograms  and  similar  designs  maybe  painted 
in  gold  and  colors.  They  should  be  drawn  very 
carefully  with  a hard  lead  pencil,  or,  if  necessary, 
traced  from  a correct  drawing,  and  placed  exactly 
in  the  center  of  the  place  to  be  ornamented. 

Letters  require  very  precise  drawing,  and 
should  be  taken  from  some  authentic  alphabet. 
Old  English  letters  are  the  best.  Good  speci- 
mens, which  would  be  of  great  assistance  in  this 
very  interesting  study,  will  be  found  in  the  ''"‘Art 
of  IlLuminatingf  by  Tymms  and  Wyatt.  The 
quarto  edition  of  i860  is  the  best. 

Gold  may  be  obtained  from  the  decorator.  If 
in  a moist  state,  it  will  be  ready  for  use  with 
turpentine,  which  may  be  added  with  the  brush; 
or,  if  in  powder,  a little  oil  of  turpentine  ihould 
be  added  in  rubbing  it  down,  with  spirits  of  tur- 
pentine, for  diluting,  as  before. 


COMPOSITION  OF  PALETTES. 


57 


The  gold  should  not  be  laid  on  too  thinly, 
and  on  the  contrary,  not  so  thickly  as  to  stand 
out  in  relief  on  the  surface.  Gold  mixed  with 
oil  has,  before  firing,  a dark  brown  color,  and 
should  be  laid  upon  the  surface  so  as  to  com- 
pletely obscure  the  white  of  the  china.  Letters 
in  gold  may  be  shaded  with  a line  of  black. 

Care  must  be  taken  that  the  gold  and  colors 
are  never  laid  one  over  the  other,  or,  when  placed 
close  together,  that  the  edges  of  the  two  should 
not  impinge,  as  this  would  have  a bad  effect  in 
the  firing. 

Gold  and  colors  sometimes  affect  each  other 
injuriously  when  placed  in  close  proximity  in  the 
painting,  and  fired  at  the  same  time.  However, 
when  gold  has  been  prepared  to  stand  the  same 
degree  of  heat  as  the  colors,  and  is  used  for 
borders  or  for  similar  purposes,  a good  result 
can  usually  be  obtained  in  one  firing. 

Palettes  for  fruit  and  other  subjects  may  be 
selected  from  the  lists  of  colors  already  given, 
but  the  rules  as  to  the  mixture  of  the  pigments 
with  reference  to  their  chemical  composition 
must  be  kept  in  mind. 


58 


CHINA  PAINTING. 


CHAPTER  VI. 

TINTED  GROUNDS. 

In  mixing  tints  for  borders  or  any  considerable 
surfaces,  it  is  necessary  to  use  more  oil  than  for 
other  painting.  It  is  especially  desirable  to  mix 
enough  balsam  of  copaiva  with  the  color  and  the 
other  oils,  to  prevent  it  from  drying  before  there  is 
time  to  blend  it.  The  quantity  of  oil  varies  with 
the  depth  of  the  tint  desired,  and  the  particular 
color  used,  also  the  condition  of  the  atmosphere 
at  the  time  the  ground  is  laid.  Some  colors, 
such  as  carmine  and  blue,  require  more  oil  than 
others,  and  are  more  difficult  to  lay.  It  is  hard 
to  give  an  idea  of  the  amount  of  oil  which 
should  be  used  in  any  particular  case.  There 
is  no  danger  of  using  so  much  that  the  paint 
will  blister  in  the  firing,  when  it  is  laid  very 
thinly. 

Enough  color  must  be  mixed  to  cover  the  en* 


TINTED  GROUNDS. 


59 


tire  surface  upon  which  the  ground  is  to  be  laid, 
at  once.  If  tube  colors  are  used,  it  will  simply  be 
necessary  to  mix  a little  balsam  of  copaiva  with 
them  as  they  are  taken  from  the  tubes,  to  keep 
them  from  drying  too  rapidly.  They  may  then 
be  diluted  with  turpentine. 

If  the  powdered  colors  are  used  they  should  be 
mixed  with  an  amount  of  oil  of  turpentine,  which 
would  occupy  nearly  as  much  space  as  the  powder, 
rather  less  of  oil  of  lavender^  and  about  twice 
as  much  balsam  of  copaiva.  Afterward  diluted 
with  spirits  of  turpentine.  For  laying  grounds, 
the  color  should  be  very  thin,  so  that  it  will  flow 
readily  from  the  brush.  Mix  on  a glass  slab, 
and  rub  down  well  with  a muller.  When  per- 
fectly smooth,  have  ready  a piece  of  the  finest 
wire  cloth,  three  or  four  inches  square,  bend  it 
to  form  a depression  in  the  middle,  and  strain 
thecolor  through  it,  lifting  it  with  the  palette  knife, 
and  letting  it  drip  through  just  before  you  are 
ready  to  use  it,  so  that  it  may  be  free  from  any 
particles  of  dust. 

Take  a broad,  flat  brush,  charge  it  well  with 


6c 


CHINA  PAINTING. 


color,  and  pass  it  rapidly  over  the  surface  to  be 
tinted.  If  a cup,  hold  it  upside  down  by  the 
handle,  and  make  the  strokes  from  the  bottom 
to  the  top ; or  if  you  wish  to  tint  the  border  of 
a plate,  the  strokes  may  be  made  across  the  flat 
edge,  taking  a direction  from  the  center  to  the 
circumference.  If  a vase,  you  should  begin  at 
the  top,  passing  around  with  short,  over-lapping 
strokes,  taking  care  that  the  color  is  not  so  wet 
that  it  will  run. 

When  the  surface  has  been  covered,  let  it  rest 
a moment,  until  the  color  begins  to  set,  and, 
upon  lightly  touching  the  edge,  it  feels  slightly 
sticky.  Then  go  over  it  with  the  blending  brush, 
holding  the  brush  perpendicular  to  the  surface 
upon  which  you  are  operating,  just  touching  it, 
not  dragging  the  brush  or  letting  it  rest  upon 
the  surface,  and  not  twice  upon  the  same  place. 

After  waiting  a moment  or  so,  you  may  go 
over  it  again,  and  continue  to  blend  it  until 
the  tint  is  perfectly  even. 

If  the  brush  becomes  charged  with  the  color, 
it  must  be  cleaned  on  a cloth  wet  with  alcohol. 


TINTED  GROUNDS. 


6l 

and  left  a few  moments  to  dry,  or  it  may  pos- 
sibly do  to  wipe  it  on  a dry  cloth.  It  is  better, 
however,  to  have  two  or  three  blenders  at  hand, 
so  that  if  one  becomes  unfit  for  use,  another  can 
be  substituted  at  once. 

Care  must  be  taken  that  the  brush,  after  it  is 
cleaned  in  alcohol,  should  become  perfectly 
dry  before  it  is  used  again,  as  the  alcohol  will 
remove  the  color.  Dampness  should  also  be 
avoided  when  laying  grounds. 

A ball  of  cotton  tied  in  a fine  linen  or  cotton 
cloth  is  sometimes  used  for  blending,  instead  of 
a brush. 

The  color  which  may  have  been  allowed  to  go 
over  the  edge  should  be  carefully  wiped  off  as 
soon  as  you  have  finished  blending. 

By  the  use  of  a turning  wheel  the  work  of 
putting  on  borders  is,  of  course,  much  facilitated. 
The  wheel,  however,  is  not  absolutely  necessary, 
except  when  narrow  bands  are  to  be  made.  A 
full  border  for  a plate  may  be  put  on  in  the 
manner  described  above. 

It  is  difficult  to  describe  narrow  bands  and 


CHINA  PAINTING. 


62 


lines,  even  upon  circular  pieces  of  china,  as  they 
are  seldom  perfectly  round,  and  the  line  has  to 
be  adapted  to  a slightly  uneven  surface.  It 
would  be  as  well  not  to  attempt  work  of  this 
kind,  which  had  better  be  left  to  the  decorator. 

Where  dark  grounds  are  desired,  the  color 
should  be  dusted  on  by  the  following  process : 

Take  a few  drops  of  the  oil  especially  prepared 
for  this  purpose,  thin  with  spirits  of  turpentine, 
and  mix  thoroughly,  by  rubbing  down  with  the 
palette  knife.  Afterward,  with  a large  brush 
charged  with  it,  pass  quickly  over  the  surface  of 
the  china,  being  careful  not  to  leave  any  spaces 
uncovered  and  to  put  it  on  as  evenly  as  possible. 

Have  ready  a ball  of  cotton  tied  in  a piece  of 
soft  raw  silk,  and  touch  it  lightly,  distribu- 
ting the  oil  evenly  over  the  whole  surface. 
After  waiting  a moment  or  so  until  the  oil  has 
become  slightly  sticky,  take  a large  blending 
brush,  charged  as  fully  as  possible  with  the 
powdered  color  you  wish  to  use,  and  dust  it 
over  the  prepared  surface,  without  slighting  any 


TINTED  GROUNDS. 


part.  If  a .surplus  of  powder  lies  upon  the  sur^ 
face  anywhere,  brush  it  off  very  lightly. 

As  the  powder  arising  from  this  process  is 
disagreeable,  as  well  as  injurious,  means  should 
be  taken  to  prevent  its  inhalation. 

This  method,  after  all,  is  rather  uncertain  in 
unskillful  hands,  it  being  very  difficult  to  meas- 

f 

ure  the  success  of  the  work  until  after  the 
firing,  which,  by  rendering  the  color  transparent, 
brings  out  every  defect. 

Grounds  of  delicate  tint,  however,  are  very 
pretty,  and  can  be  easily  managed,  after  some 
little  practice,  according  to  the  directions  given 
above. 

Besides  the  colors  used  in  painting,  there  are 
others  especially  prepared  for  grounds,  which 
can  not  be  mixed. 

It  is  as  well  to  procure  colors  for  grounds  in 
powder;  especially,  if  they  can  be  had,  those 
prepared  by  M.  Lacroix,  of  the  quality  No.  j, 
which*  are  as  finely  ground  as  the  tube  colors. 

If  it  is  desired  to  paint  a design  upon  the 
tinted  ground,  the  ground  must  be  removed 


64 


CHINA  PAINTING. 


from  the  place  the  design  is  to  occupy.  If  this 
were  not  done,  the  color  underneath  would  in 
the  firing  mix  with  those  superimposed,  and 
spoil  the  tints.  This  may  be  done  by  either  of 
the  following  methods: 

First,  the  ground  may  be  tinted,  and,  after  it 
is  thoroughly  dry,  the  design  may  be  scratched 
upon  the  surface  and  the  color  removed  with  a 
scraper.  A stick  of  soft  wood,  with  a flattened 
point  moistened  with  turpentine,  is  also  useful 
for  this  purpose';  or,  if  the  scraper  alone  is  used, 
the  surface  uncovered  should  be  carefully  cleaned, 
after  its  use,  with  the  end  of  a cloth  rolled  into 
a point  and  moistened  with  turpentine. 

The  design  may  also  be  drawn  upon  the  tinted 
surface  with  a hard  lead  pencil  (if  delicately  and 
correctly  done),  and  the  color  removed  as  before.^ 
Perhaps  the  second  method  would  be  the  best 
for  any  one  not  quite  sure  of  drawing  the  design 
correctly  at  once.  That  is,  to  draw  the  design 
on  the  china  first  in  India  ink  or  any  water  color 
which  will  show.  The  ground  laid  over  this  will 
not  disturb  the  outline,  and,  the  sketch  showing 


TINTED  GROUNDS. 


through  it  perfectly,  the  design  can  be  easily  re- 
moved by  the  process  described  after  the  first 
method.  This  outline  will  burn  out  in  the  firing. 
It  would,  however,  be  better  to  remove  it  as  far 
as  possible,  especially  if  dark,  in  order  that  it 
may  not  interfere  with  the  proper  treatment  of 
the  edges  of  the  painted  design. 

Designs  in  colors,  black  silhouettes  or  mono- 
chromes in  grey,  may  be  painted  in  this  manner 
upon  tinted  grounds. 


66 


CHINA  PAINTING. 


CHAPTER  VII. 

GENERAL  REMARKS  ON  DECORATION. 

The  mode  of  decoration  should  have  reference 
to  the  use  for  which  a piece  of  china  is  intended. 

Heads,  figures,  landscapes  or  flowers  may  orna- 
ment plates,  plaques  or  panels,  which  are  to  be 
hung  as  pictures,  or  to  have  the  place  of  honor 
in  the  decoration  of  a piece  of  furniture. 

For  pieces  or  services  intended  for  use,  heads 
or  figures  do  not  seem  entirely  appropriate. 
Flowers  or  conventional  designs  would  be  more 
fitting  for  such  purposes. 

Models  of  these  various  styles  of  decorations 
are  to  be, found,  which  may  be  copied. 

For  figures,  there  are  the  exquisite  designs  of 
Boucher,  fac-similes  of  which  are  published  col- 
lectively or  on  separate  sheets. 

Walter  Crane’s  toy  books  would  also  furnish 
good  designs  for  another  style,  and  photographs 


GENERAL  REMARKS  ON  DECORATION.  67 


from  paintings  or  from  life  also  furnish  avail- 
able models. 

These  studies  are  not,  however,  to  be  rec- 
ommended to  those  who  have  not  had  a thorough 
training  in  the  art  of  drawing. 

The  slightest  error  is  painfully  apparent  in  the 
drawing  of  a face  or  figure.  The  lack  of  the 
freedom  of  hand,  acquired  by  long  practice,  will 
be  manifest,  and  even  a correct  tracing  from  the 
original  will  not  save  the  outline  from  distor- 
tion. 

Numerous  engravings  and  photographs-  of 
landscapes  can  be  obtained,  which  may  be  painted 
in  colors  or  monochrome,  and  will  be  very 
pleasing,  as  well  as  less  difficult  to  draw. 

Conventional  forms  are  to  be  had  from  va-.^^ 
rious  sources. 

Those  from  Japanese  designs  are  excellent  sub- 
jects for  ceramic  decorations.  As  for  all  decora- 
tive purposes,  designs  of  a conventional  character 
are  the  most  generally  appropriate  and  in  the  best 
taste. 


68 


CHINA  PAINTING. 


If  the  artist  is  capable  of  composing  good 
decoration  of  this  kind,  so  much  the  better. 

This,  as  well  as  every  other  branch  of  art, 
finds  its  best  inspiration  and  development  in  the 
study  of  the  harmonies  of  color  and  form  ex- 
isting in  nature.  Good  conventional  designs 
must  be  in  accordance  with  the  laws  of  natural 
forms. 

Flowers  furnish,  probably,  the  most  generally 
pleasing  decoration  for  china,  and  will  be  more 
frequently  found  within  the  scope  of  the  abili- 
ties of  the  amateur.  It  is  rather  difficult  to  ob- 
tain good  designs  for  the  purpose  of  copying. 
But  why  be  content  with  a poor  copy  at  second- 
hand when  the  whole  book  of  nature  lies  open 
before  you  ? Let  me  urge  those  who  wish  to 
practice  art  with  profit  as  well  as  pleasure  to 
enter  upon  this  delightful  study. 

The  pleasure  of  being  able  to  record  the  in- 
numerable and  exquisite  combinations  of  color 
and  fornf’all  around  us,  and  the  feeling  of  own- 
ership in  the  studies  thus  made,  will  more  than 
compensate  for  the  labor  required  to  accomplish 


GENERAL  REMARKS  ON  DECORATION. 


69^ 


these  results.  In  the  expressive  words  of  Ham- 
erton,  This  indeed  is  a noble  object,  to  gain 
admission  into  the  paradise  of  natural  beauty, 
and  whoever  labors  bravely  for  that  end  shall 
have  his  reward.” 


A.  B.  CLOSSON,  JR„ 

KEEPS  IN  STOCK  AND  IS  CONSTANTLY  RECEIVING 

FOR  PORCELAIN  PAINTING-, 

WITH  SPECIAL  OILS,  BRUSHES,  BLENDERS,  PLAQUES, 
SLEEVE  BUTTONS,  HORSE  SHOES,  &c. 

CLOSSON’S  PLAQUE  HOLDERS, 

Tlxe  Best  cmd  Safest  Made. 

EVERY  VARIETY  OP 

ARTISTS’  BRUSHES, 

ARTISTS’  COLORS, 

ARTISTS’  EASELS, 

ARTISTS’  PALETTES, 

ARTISTS’  EBONY  PANELS, 

ARTISTS’  WHITE  HOLLY  PANELS, 

Various  Studies  in  Oil  or  Wafer  Color,  Figures, 
Landscapes,  Flowers.  Charcoal  or  Crayon. 

miLCTS'  I ENGINEERS’  SIllIIONERf. 

Reasonable  Discount  to  Buyers  at  a Distance. 

SEND  FOR  CATALOGUE. 

-A..  B.  CLOSSOISr,  Jr., 
MAmJFACTVBBM  AND  IMFOBTEB, 
186  West  Fourth  Street, 
CINCINNATI. 


GUSTAV  HARTWIG, 

PRACTICAL  OPERATING 

China  Painter  and  Decorator. 

TEACHER  OF  THE  ART  OF  CHINA-PAINTING.’ 
PAINTED  CHINA  FIRED  ON  REASONABLE  TERMS. 
DEALER  IN  CHINA,  CLASS,  AND  QUEENSWARE. 

IMPORTER  OF 

China  Colors  and  other  Materials  for  China-Painting, 
Decalomanta  Pictures  for  China. 

34  S WEST  FIFTH  STREET, 

CINCINNATI,  O. 

Dinner  Sets,  Tea  Sets,  and  Toilet  Sets ; Cups  for  Birthday  Presents,  etc. 
Shaving-Cups  with  Names  and  Glass  Shields. 

French  and  Stone  China  decorated  to  order.  Sets  matched  and  regildcd. 


The  Western  Decorating  Works 

Have  on  hand  the  most  complete  line  of  the  best  English  and 
German  Dry  Enamel  Colors,  as  well  as  Lacroix’s  Tube 
Colors,  Oils,  and  all  requisite  materials  for  the  decoration  of 

CHINA,  POTTERY,  TILES,  ETC. 

Also  a full  variety  of  White  and  Colored  English  Glazed 
Tiles,  Porcelain  Slabs,  and  Plaques  for  Painting  on. 

All  colors  sold  are  previously  tested  at  our  works. 

The  firitig  of  Decorated  Ware  receives  careful  and  i>rompt 
attention  at  our  hands-  ♦ 

Price  list  of  colors,  firing,  etc.,  etc.,  sent  on  application. 

GRUNEWALD  & SCHMIDT,  Prop’rs, 

WESTERN  DECORATING  WORKS, 

106  Randolph  Street,  Chicago. 


CHINA  FOR  DECORATING. 


Haviland  & Cos 

LIMOGES  French  China, 

Universally  acknowledged,  as  the  best 
for  all  purposes. 

ALSO,  ANTIQUE  AND  MODEEN  SHAPES  OF 

POLISHED  POTTERY, 

LIMOGES  B'AIENCE,  DOULTON, 

VALERIE, 

LONGWY,  GIEN, 

MAJOLICA, 

PARIAN,  FLEMISH, 

BISQUE  AND  LAVA  WARES. 

IN  A GREAT  VARIETY  of  the  LATEST  DESIGNS. 

ALSO,  AGENTS  FOR 

CINCINNATI  ENAMELED  FAIENCE, 

THE  FIRST  CERAMIC  PRODUCT  OF  THE  KIND 
MADE  IN  AMERICA. 

The  decoration  will  be  in  original  designs,  which  will  no* 
be  repeated.  The  ware  is  made  under  a process  originated  b3» 
Miss  M.  Louise  McLaughlin,  in  October,  1877,  by  which  ver^ 
brilliant  and  peculiarly  translucent  effects  of  color  are  producec 


H.  F.  WEST,  BRO.  & CO., 

139  West  Fourtli  Streel-, 
CINCINNATI. 


A.  H.  ABBOTT  & CO. 

IMPORTERS  OF 

ChinaPainting 

147  ST^TE  STREET, 
CHICAGO. 

ARTISTS’  SUPPLIES,  WAX  FLOWER  GOODS,  GLASS  SHADES,  &C. 


P.  J.  UI.RZGH^ 

Corner  Twelfth  Street  and  Fourth  Avenue,  New  York, 

IMPORTER  OF 

ARTISTS’  MATERIALS, 

FOR  OIL,  WATER  COLOR,  PASTEL  PAINTING  AND  DRAWING. 

Winsor  & Newton’s  Oil  and  Water  Colors. 

Dr.  Fr.  Schoenfeld’s  Celebrated  Oil  and  Water  Colors  in  Tubes,. 

and  Pans,  and  Gouache  Colors  in  Bottles. 

A.  Lacroix’s  and  German  Mineral  Paints,  in  Tubes  and  Powder, 
for  Painting  on  China. 

PORCELAIN  SLEEVE  BUTTONS  for  Decoration,  by  the  pair 
or  dozen  pair,  at  moderate  prices. 

Fancy  Holly  and  Grey  Wood  Articles  for  Decoration. 

Send  for  Price  Lists.  Orders  from  the  country  promptly  executed."^ 


(Jonnoisxpups  of  ^prarair 

Are  invited  to  visit  the  establishment  of 
Messrs.  Tiffany  & Co.,  Union  Square,  New 
York,  and  examine  the  largest  collection  of 
Artistic  Pottery  in  the  world. 

Examples  from  almost  every  furnace  of 
Europe  may  be  studied  there,  and  the  collec- 
tion includes  many  reproductions  of  classic 
works  of  past  eras,  besides  original  master- 
pieces of  the  present  revival. 

Reproductions  by  Doulton  of  Old  Flemish  Stone  Ware. 
Reproductions  of  the  Scinde  Pottery,  made  by  the  Bombay 
Art  Society. 

Reproductions  of  the  Venetian  Glass  of  the  Sixteenth  Century. 
Fac  similies  of  the  Trojan  Iridescent  Bronze  Glass  exhumed 
by  Dr.  Schliemann. 

New  Plaques  by  Copeland,  decorated  with  strongly  drawn 
heads,  by  Hewitt. 

Recent  examples  of  Ginori’s  reproductions  of  Old  Italian 
Majolica. 

Examples  of  the  Cincinnati  Enameled  Faience. 

New  Plaques  by  Minton,  decorated  by  Mussill  with  novel 
studies  of  marine  plants. 

Specimens  of  Capo  di  Monti  Ware,  Austrian  Iridescent,  and 
Enameled  Glass,  Limoges  Faience  of  New  Colors,  and 
recent  productions  of  the  Royal  Works  at  Worcester, 
England. 


TIFFANY  & CO., 


UNION  SQUARE, 


NEW  YORK. 


THE  AMATEUR’S  MINIATURE  KILN 

Enables  the  artist  to  “ fire”  small  articles  of  Decorated  China,  such 
as  Tiles,  Cups,  Saucers,  etc.,  with  perfect  success, 

IN  AN  ORDINARY  KITCHEN  STOVE. 

Several  sizes.  Prices  $^.co  and  upward.  Circular  with  full 
description,  directions  for  use,  etc.,  sent  on  receipt  of  stamp. 
Address  the  Patentee,  MISS  N.  M.  FORD, 

Port  Richmond,  N.  Y. 

For  sale,  also,  by  the  SOCIETY  OF  DECORATIVE  ART,  New  York  City. 

HENRY  L.  FRY  & WM.  H.  FRY, 

Architectural  Carvers  in  Wood, 

ARTISTIC  FURNITURE  DESIGNED  AND  NIADE  TO  ORDER. 

Lessons  given  in  Wood  Carving  and  Drawing  by  Laura  A.  Fry, 
Offices,  S.  W.  Cor.  Fifth  and  Race  Sts., 
CINCINNATI,  O. 

JANENTZKY  & CO., 

IMFOEIEES  OF  AHD  DEALEEF  IN 

Colors  for  China  and  Tile  Painting, 

IN  TUBES  AND  BOWBEIt, 

PORCELAIN  PLATES  (oval  and  square),  and  TILES, 

ALL  EINDS  OP 

DRAWING  AND  PAINTING  MATERIALS, 

WAX  FLOWER  MATERIALS. 

OI^ASS  COIiORS  IMPORTED  TO  ORDER. 

11^3^  Ohestnut  Street, 


PHILADELPHIA. 


A.  LACROIX’S  ENAMEL  COLORS, 

FOR  PAINTING  ON  CHINA,  EARTHENWARE,  ETC. 

In  Tubes  like  moist  Oil  Colors,  or  dry  in  Powder. 

Largest  Variety  in  America  of  Mineral  Colors,  Fine  Brushes, 
and  all  Materials  for 

Gincmati  and  Limoges  Enameled  Faience, 
Longwj  Eelief,  Undergla^e,  Porcelain,  and  Elass  Painting. 

Erhard’s  Studies  of  Flowers,  etc.,  painted  by  hand  to  copy 
from  on  China,  with  directions  attached  which  colors  to  use. 

SEND  FOR  PRICE  LIST  TO 

(/.  MARSGHING  & GO.,  Importers, 

21  Park  Place,  NEW  YORK. 


ROBERT  CLARKE  & CO. 
||HM}s|ers,  ^ocksellers,  Stationers  | Importers 

CINCINNATI,  O. 

HAVE  JUST  ISSUED  A SECOND  EDITION  OP  THEIR 

C.^T.A.XjOC3--CrE  OIF’  02T  OTITIEI 

yinf  XrR 

Part  I.—GENERAL;  Art,  Painting,  Sculpture,  Ceramics;  Descriptive, 
Historical,  and  Biographical. 

Part  II. — PRACTICAL:  Drawing,  Painting,  Carving,  Engraving,  and 
Photography. 

Will  he  sent  by  mail  on  receipt  of  a three-cent  stamp. 

A LARGE  STOCK  OF  FINE  ART  BOOKS  always  on  hand,  and  special 
attention  given  to  the  collection  of  Rare  Works,  and  the  importation  of 
Foreign  Books.  gtf^Letters  of  Inquiry  meet  with  prompt  attention. 

ROBERT  CLARKE  & CO.,  Cincinnati,  O. 


GETTY  CENTER  LIBRARY 

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